The Educated Imagination

httpv://www.youtube.com/watch?v=K2T3fZDiSsw

From the BBC, the discovery of Tutankhamen’s tomb

Today is the birthday of Howard Carter (1874-1939), an English archaeologist and Egyptologist who discovered the tomb of Tutankhamen.

From “The Metaphor of Kingship” section of the lecture series, “Symbolism in the Bible”:

The society that went furthest in identifying the entire society with and as the king was ancient Egypt. If you look at, say, the Tutankhamen collection, you would say to yourself that it would be absolutely incredible that all that labour and expense went into the constructing of the tomb for a pharaoh. We’d never believe it without direct evidence. And yet, when we understand how pervasive royal metaphors are in Egypt — that Pharaoh is not only a king, he is an incarnate god, identical with the god Horus before his death and with the god Osiris after it, and that he was called “the shepherd of his people” — it becomes more conceivable. And unlike the Hebrew practice, he was high priest as well as king. So it is possible that the ordinary Egyptian found an identity for himself within the mystical body of Pharaoh which was of a kind that our mental processes simply cannot recapture. (CW 13, 490)

httpv://www.youtube.com/watch?v=TaHMG_SvUkw

The Pogues, “Streams of Whiskey”

On the soberer side of St. Patrick’s Day (that is, any time before about 4 pm), Frye in The Great Code cites St. Patrick’s illustration of the Trinity to make a point about metaphor and doctrine:

The sense in Christianity as a faith beyond reason, which must continue to affirm even after reason gives up, is closely connected with the linguistic fact that many of the central doctrines of Christianity can be grammatically expressed only in the form metaphor.  Thus, Christ is God and man; in the Trinity three persons are one; in the Real Presence the body and blood are bread and wine. When these doctrines are rationalized as conceptions of a spiritual substance and the like, the metaphor is translated in metonymic language and “explained.” But there is a strong smell of intellectual mortality about such explanations, and sooner or later they fade away and the original metaphor reappears, as intransigent as ever. At that point we are back to the world where St. Patrick illustrates the doctrine of the Trinity with a shamrock, a use of concrete paradox that enlightens the mind by paralyzing the discursive reason, like the koan of Zen Buddhism. The doctrines may be “more” than metaphors; the point is that they can be stated only in a metaphorical this-is-that form. (CW 19, 73)

Slainte.

Palin blames “pundints” [sic] for “manufacturing a blood libel” against her

Roy Peter Clark cites Frye on metaphor to make some sense of Palin’s claim to be the victim of “blood libel” after the Tuscon shootings.

A sample:

Frye provides a cautionary lesson about metaphorical language: that the differences between the compared elements are as important as the similarities. If I present myself as a “light to the world,” I am asking my audience to see my divine qualities and will not blame them for observing the dissimilarities.

To describe oneself as a victim of blood libel carries with it a certain responsibility for proportionality, that the seriousness of the metaphor must equate in some measure with the experience being described. While the football game between the Steelers and the Ravens has already been compared to a war – and the players to gladiators – we recognize that as traditional and hyperbolic. But I would not call a failed athletic performance an “abortion” or a blowout of one team by another as a “holocaust” or “a virtual Hiroshima.”

Thomas Carlyle died on this date in 1881 (born 1795).

Frye in “New Directions from Old” cites Carlyle’s Sartor Resartus in order to make the point that literature does not present “ideas” by way of logic, but a mimesis of ideas by way of metaphor:

Literary criticism finds a good deal of difficulty in dealing with such works as Sartor Resartus takes the structure of German Romantic philosophy and extracts from it a central metaphor in which the phenomenal is to the noumenal world as clothing is to the naked body: something which conceals it, and yet, by enabling it to appear in public, paradoxically reveals it as well.

The “ideas” the poets use, therefore, are not actual propositions, but thought-forms or conceptual myths, usually dealing with images rather than abstractions, and hence normally unified by metaphor, or image phrasing, rather than by logic.  (CW 21, 121-13)

Asimov’s “Science and Beauty,” first published in the Washington Post in 1979

Today is Isaac Asimov‘s birthday (1920-1992).

Frye in “Introduction to Design for Learning“:

Mathematics is often said to be the language of science, but it is a secondary language: all elementary understanding is verbal, and most of the understanding of it at any level continues to be so.  The verbal understanding of science, at least on the elementary level, is quite as much imaginative, quite as dependent on metaphor and analogy, as it is descriptive.  Here is a passage from The Intelligent Man’s Guide to Science, by Isaac Asimov, which illustrates how metaphorical a writer must become when he has to explain science to scientific illiterates: “Cosmic rays bombarding atoms in the earth’s upper atmosphere knock out neutrons when they shatter the atoms; some of these neutrons bounce out of the atmosphere into space; they then decay into protons, and the charged protons are trapped by magnetic lines of force of the earth.”  This functional use of metaphor is one of the many reasons why no programme of study in English, however utilitarian its aims, can ever lose contact with English as literature.  (CW 7, 134)